In the House of the Hangman 1222

Like a gutted
fish, she said. Like a submerged memory. One the surface of the water I see an
article. Perhaps the nuance is unintentional. Is it a verb? Is it a noun? To
jad to down to empale / … / Eric Holder in
Gonzales’ chair on John Yoo’s lap / to inviolate to ijaz as
to abjure to Guantanamo / … / a pair / of smoke-tinted
Chevy Tahoes idle / … / in the mirror six thick men / in khakis and white polos
drag a feather / merchant into the street [chorus in ear
buds] : [
translate this page ]] :: [ This piece is repeated twice with two
different Audacity echo settings and sounds absolutely amazing – oud particle
construction of particles from oud improvisation they come and go as do I ouds
come and go as they do time’s arrow is obdurate, fixed, inert, idiotic, supple,
subject to relativistic dilations and contractions, but a vector in the large,
a diminution of organism, denouement of the temporary coagulation of this
intentionality, this moment. So a piece of mourning and a piece of escape. End
always comes before end; Zeno’s flight died by increment, nothing was left,
spearheads without shafts. Seizing up the
weakened cradle your bent-black chest is present to, louder in the gritted
wind. Notes of lice tinkle down in sun, hard with malformed lushness, muffled
in swathes or a swept lip. You press me volatile to your pure solicitations,
which complicates my being ONLY A TOY. Not for labels are their teeth arrowing
out like angels sicked on ash vulvar. We make a face, or two, playing for feed
at whites with hiccup ‘self / object’: sheathed in PLAYDOH. Slip away
knowledge as dust booms the bar; nook hanging as a blond void, to be filled, or
something like it. Renders impulse slide nectarine: breaks open the
police-helmet, sniggering at small stitch. Speechless with depth, we relinquish
flounce & pass on so naked, burnt as a side remainder of what catches in
the real light of day. The speaker’s injunction, “today I require ID from
all wingless insects” neatly splits the surveilled population into Alatae and Apterae. “Today I am Agent Buzz”. “I crocodile”, “I anxiety”. Rosa
Parks did NOT have tired feet. Noel wants to make a fire while Austin stands in
the kitchen, his mind reeling, going on and on about what it would be
like to SEE THE WORLD the way DELEUZE SAW IT to see philosophy, all
knowledge, spatially — as a plane. “My good ‘n plenties God beeps / My sheeps
beeps back My bucolic / Redirects …”: “let’s go” and the stanza breaks, leading
into plays with the sound of glove, sea, and sprawl. ‘N If there’s no bayou by
you / Th’idyll’ll winterize Pipes on piere foundation, Intermatic / digital
timer w/ freeze / protect for piping ‘n / pump at lower temp / Wondershare time
freeze, freeze guard / preset keys will override pump run time / Frostex
Thermostat datasheet / aquaLink OneTouch RapidShare AcuStrip / Lock-in tab: all
links open, especially in the stanza beginning “National Contingency Plan
Petrochemical Product Schedule.” It’s turn, turn, turn, flirt, turn, until. Insects
wings might beat anywhere between 100 to 1000 beats per second; dead
zooplankton sedimented for millions of years forms the backbone of the global
economy; most things on the solar radiation spectrum remain unseen to us but
perhaps registered on the body anyway, somehow; think of the aesthetics of
magnetic storms in the upper atmosphere and their weird frequencies. Or take
dust. Tonight you were supposed to see the video work The Zone by People Like Us. This work of appropriation art
refers to two historic films: Wizard of Oz by Victor Fleming is screened on the left, on the right Stalker by Andrey Tarkovsky. At first, the films seem to be screening alongside but without relation to each other; when Judy Garland starts talking, the opening credits in Stalker are still on the screen. But an increasing number of reference points appear between the images, as if the figures on the left and the characters on the right are communicating with each other. Both films in their original version switch from black and white to colour and the subtle interventions in montage are only apparent when both films are adapted so that this happens at exactly the same time.

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Credits! We got open credits with a theme song! Creator Liz Tigelaar told me last week that they would be coming, but then the names started to scroll across the bottom of the screen and I got deflated. Maybe they had decided to cut them? Just as I began to lose hope, there they were with no actors names, but with a ridiculously appropriate song about family trees with bent or broken branches. Anyone know the name of that song?.

Sweet protagonist Rin (Yumi Sugimoto) is bullied at school, but has loving parents at home. On her 16th birthday, she experiences odd twinges that have nothing to do with encroaching pubescence. During her birthday party, her father (Kanji Tsuda) reveals himself to be a mutant.